Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Paris, in French1. ff. 2-13v: Full calendar in French with major feasts in red, similar to that printed by Perdrizet, but with frequent inversion of order. 2. ff. 14-19: Pericopes of the Gospels in French; f. 19v, ruled, but blank. 3. ff. 20-77v: Hours of the Virgin, use of Paris, in French verse, rubrics in Latin; portions of the text given by cue only; missing the opening leaves of matins, lauds, prime and terce between ff. 19-20, 32-33, 46-47 and 52-53 respectively. 4. ff. 78-80v: Short hours of the Holy Spirit in French. 5. ff. 81-83v: Short hours of the Cross in French. 6. ff. 84-101: Penitential psalms and litany in French; f. 101v, ruled, but blank. 7. ff. 101-137v: Office of the Dead, use of Paris, in French; ff. 136-137v, Les sept vers saint bernard, Sire enlumine mes yeulx…, and the prayer, Tout puissant et pardurable dieu qui a ezechie roy…[Illumina oculos meos, and Omnipotens sempiterne deus qui ezechie regi, in French, different from Sonet 1980 and 2114]. 8. ff. 138-159v: Doulce dame vierge marie tres humblent [sic] ie te prye…[Obsecro te in French; Sonet 462?]; La passion selon saint iehan, En celluy temps pylate prist ihesucriste…[catena mainly from John 19, in French; see de la Mare, Lyell Cat., pp. 65-66]; Oroison, Sire dieu qui as mis tes mains tes pies et tout ton corps…; oroison, Ie te adore corps precieux et sang de nostre seigneur ihesucrist…; oroison, Ie te salue tres saintisme et tres precieulx corps de ihesucrist qui fut pose en l’arbre de la crois…; oroison, Sire dieu ihesucrist roy tout puyssant qui fis le ciel et la terre…; oroison, De celle saincte bouche/ Dont ihesucrist parla/ Et de sa saincte mere/ Que neuf moys le porta…[Sonet 351]; Pape Innocent La fit et conferma, Quant il l’eut confermee Apres il envoya Au bon roy charlemaine…, Saincte cher precieuse/ Je vous aore et pry/ La vierge glorieuse/ Que vous porta et norrit…[Sonet 1855]; oroison, Ihesu doulx dieu filz de marie Qui par ta mort de mort a vie…[Sonet 966]; oroison, A Toy royne de hault parage, Dame du ciel et de la terre…[attributed to Guillaume Alexis, Sonet 24]; Royne qui fustes mise/ Et Assise/ Lassus ou throne divin…[attributed to Guillaume Alexis, Sonet 1804]; f. 160r-v, ruled, but blank. Parchment (with hair follicles sometimes showing, e.g. ff. 118v-119, as occurs on parchment prepared in southern Europe), ff. ii (modern parchment) + 160 (+ 142 bis) + iii (modern parchment); 180 × 125 (103 × 62) mm. Collation beginning at f. 2: 112 26(through f. 19) 38(-1) 48(-7) 58 68(-6) 78(-5) 8-108 114(through f. 83) 12-178 186(through f. 137) 196 208 2110. Catchwords in the script of the text in the center lower margin; leaf signatures visible on quire 12, a-g. 16 long lines, ruled in pale red ink; ruled in purple ink on the first two quires and last two quires. Written in a gothic book hand. Four large illuminations missing after ff. 19, 32, 46 and 52 (offsets of border designs visible on the versos). Nine large illuminations remain, in slightly rounded compartments; U-shaped bar borders of pink, blue and gold segments enclose the miniature and 4-5 lines of text; outer borders of black ink spray with multicolored acanthus leaves, flowers, strawberries and gold dots. The illuminations, by 3 artists, the first of which has been identified as Enguerrand Quarton,1 are: f. 57 (Sext), by Quarton, Circumcision; f. 62 (None), by Quarton, Adoration of the Magi, one young, one middle-aged, one old; f. 67 (Vespers), by the second artist, Presentation in the temple; f. 72 (Compline), by Quarton, Flight into Egypt; f. 78 (Hours of the Holy Spirit), by Quarton with some repainting (?), Pentecost; f. 81 (Hours of the Cross), by Quarton, Crucifixion with Mary and John on either side; the INRI legend on a strip of wood attached to the top of the Cross by a thin rod; f. 84 (Penitential psalms), by the third artist, David in prayer facing shining rays that stream downwards; diapered background; nude woman with spindle and distaff in the margin, based on the lost original by the Master of the Playing Cards, see Lehrs, 1:169-70 n. 25; f. 102 (Office of the Dead), by the second artist, Funeral service in a churchyard; f. 138 (Doulce dame vierge marie), by Quarton, the Virgin holding the Child in her lap, in an enclosed garden, with the owner in a pink dress and orange headdress kneeling to the Virgin’s right. Major initials, 4- and 3-line, in white-patterned pink or blue with trilobe leaf infilling against a cusped gold ground; the initial on f. 138 contains a large pink flower. 3-, 2- and 1-line initials in gold with infilling of pink or blue on a ground of the other color; initials within the text washed in yellow; ribbon line fillers in segments of pink and blue. Rubrics in an orange-tinged red. Bound, s. XIX, in purple velvet; gilt edges. Written in southern France in the middle of the fifteenth century, evidently for a woman: on f. 137, the feminine form “ta servante,” and on f. 138, the kneeling figure of a woman. Belonged to Henry William Poor (1844-1915), whose ex libris is on the front pastedown; his sale, Anderson, New York, 7 December 1908, pt. II, n. 769 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 94. N. Reynaud, “Un nouveau manuscrit attribué à Enguerrand Quarton,” Revue de l’Art 57 (1982) 61-66 with plates of ff. 57, 62, 72, 78, 81, 138.
Southern France, s. XVmed
1 We are indebted to Mme Nicole Reynaud and M. François Avril for this identification.
C. W. Dutschke with the assistance of R. H. Rouse et al., Guide to Medieval and Renaissance Manuscripts in the Huntington Library (San Marino, 1989). Copyright 1989.
Henry E. Huntington Library and Art Gallery, San Marino, California.
Electronic version encoded by Sharon K, Goetz, 2003.
All rights to the cataloguing and images in Digital Scriptorium reside with the contributing institutions.